OK Computer logs in as a modern classic

The 33 1/3 book series is devoted to exploring "classic" musical albums through short books, but is each text worthy of the album it discusses? Through a series of reviews, The Gazette will judge how well various 33 1/3 books act as companions to their respective albums.

OK ComputerDai GriffithsContinuum Books
123 pgs., $12.95

"Put simply, the only thing you'll need in order to read what follows is OK Computer," Dai Griffiths writes in the introduction to the 33 1/3 series on Radiohead's OK Computer.

Well, that and a solid understanding of musical composition and theory.

Head of the Department of Music at Oxford Brookes University, Griffiths gives heavy focus to the technical aspects of the music on Radiohead's 1997 modern classic. But, to his credit, Griffiths does his best to make the learning curve as easy as possible.

There is only one five-page section that focuses heavily on the songs' technical composition. Griffiths breaks down each song into times, keys, beats, along with a number of things the average person won't understand. Fortunately, though, skipping these pages doesn't take away from the rest of the book.

For the most part, the text is an enjoyable read. Aside from the technical approach, Griffiths looks at OK Computer in a uniquely modern way: as a CD album. Nearly every other album featured in the series was produced pre-CD, so Griffiths contends that the format helped dictate the content and structure of OK Computer.

Griffiths spends the first 30 pages laying out the foundations of this discussion before applying it to OK Computer specifically.
He looks at the limitations of a vinyl album compared to those of the CD, specifically the amount of music each format allows.

While CDs can fit around 80 minutes of music compared to vinyl's 25 to 30 minutes per side, Griffiths discusses how the introduction of CDs often caused artists to fill the discs even if the content wasn't there - a trend that continues today.

The fact that vinyl albums have two sides, while CDs play continuously, also plays a heavy role in his discussion of OK Computer. With no side limits, song sequencing plays a more important role in how the album is experienced. There's no longer a need for two beginnings and two endings on a single album.

Griffiths also explores the history of recording formats and other album-related topics such as singles, compilations, live albums, the shuffle function on CD players and even the booklets included with albums.

Griffiths then relates these discussions specifically to OK Computer, dissecting the groupings of the tracks. Surprisingly, Griffiths argues that the middle section is the album's essential core "where a run of three tracks suggests in turn three decent adjectives: expressive, thoughtful, and exciting. The core of the run goes from the latter half of ‘Karma Police' through ‘Fitter Happier' to the second verse of ‘Electioneering.'"

This core, he says, would not have been possible on vinyl, noting that the vinyl version of OK Computer's first side ends with "Karma Police," breaking the essential three-track run.

Discussing the songs themselves is also interesting, as Griffiths uses his academic background to explain the music. He finishes that section by looking at the album as a whole, bringing the discussion full circle.

The book ends with a theoretic look at OK Computer's possible legacy as a "classic album." While this section is intriguing, it doesn't hold the same interest as the first two.

However, despite a little too much musical theory, Dai Griffiths' book is an excellent companion to what is, perhaps, the only "classic" album of the late 20th century.

Author:Gazette Staff

Whatever happened to… Third Eye Blind?

SO THAT'S WHERE THIRD EYE BLIND WENT! The band members pose for a picture - too bad we've forgotten their names.

The year was 1997. With its catchy "doo, doo, doo" hook, "Semi-Charmed Life" dominated radio and TV.

After releasing a strong second single, "How's It Gonna Be," the boys landed opening slots on stadium tours for mega-stars U2, the Rolling Stones and Oasis. The band also appeared on two major movie soundtracks, American Pie and Varsity Blues.

With the release of two more insatiably catchy singles, 3EB gained major hype in 1998, and it was even suggested the band was the next U2. However, this was the last many heard of the band.

Unfortunately, the quick rise to fame overwhelmed the band, causing egos to build as quickly as they were destroyed. While recording its critically sub-par sophomore album Blue in 1999, conflict arose between cocky frontman Jenkins and headstrong guitarist Cadogan.

After releasing the marginally successful "Never Let You Go," the band relieved Cadogan of his guitar duties. Unfortunately, this propelled a messy turn of events, including a drawn-out lawsuit.

In 2000, friend and former 3EB demo guitarist Tony Fredienelli filled Cadogan's role. The band toured in support of Blue for the better part of that year, and released "Deep Inside Of You," which appeared on the Me, Myself and Irene soundtrack.

However, the reborn success didn't last long. By the end of the year, Jenkins and longtime girlfriend Charlize Theron split. The breakup left Jenkins depressed for a year, and thus put off recording a third album.

When the band finally returned to the studio, it spent two years tweaking Out of the Vein, an album chock-full of tracks about Jenkins' painful breakup.

Although it included some catchy tracks and contained some of the band's best work, the three-year hiatus and the label's pathetic marketing caused the album to go unnoticed by the masses.

The band never made a video for its first single "Blinded," and the song received little airplay. Some critics said the album was over-produced, claiming it was too hard for adult radio, and not hard enough for alternative radio.

After a small set of club tours and an opening spot for the Goo Goo Dolls, 3EB took another long hiatus in 2004. In 2005, it was dropped from its label.

During the past two years, the guys have played random shows, and all of the members have worked on side projects such as playing with other bands, acting and producing.

According to Jenkins, the band is working on a fourth release that it intends to re-record in the studio, claiming it will be similar to its first album.

However, to steal a line from 3EB's "Jumper," if we never hear from 3EB again, "I would understand."

Author:Gazette Staff

London's the Show shows showmanship - Local band offers eclectic sound

SHOW ME THE MONEY, BITCHES! Watch out or the members of the Show might mug you in an alley.

It doesn't take long to understand why this band is called the Show. Comprised of five goofy and energetic guys, this act is most comfortable onstage.

The Show, which consists of current and former Western students, describes its music as simple, yet powerful, and reflects the band's musical influences, which range from Ani Difranco to Van Morrison.

According to lead singer Dan Warry-Smith, the Show's sound is "acoustic-rock foundation fused with funk, blues, and little bits and pieces of many other musical styles."

Boasting action-packed onstage improvisations, the Show prides itself on its live performances. The band's energy leaves listeners grooving to the beat and, according to Warry-Smith, provides the band members with a sense of "freedom and satisfaction."

The band loves to perform original songs - such as crowd favourites "The Stranger," "Start," and "Silence for Gideon" - and loves writing them, too.

"Creating music is a way of life that is like living a fantasy," says Warry-Smith of the band's songwriting process.

The Show's other members share Warry-Smith's enthusiasm for writing and the band itself.

"The Show is unlike any other band I have ever played with," says drummer Adam Shanfield. "There is an irrepressible positive energy and a collective goal of exploring new sounds every time we hit the stage."

Shanfield believes this positive energy pushes the band to mature its sound. "It's always new and exciting, which keeps things fresh," he says.

The Show plans to display its new sound on its upcoming four-track EP, Enter the Metropolis.

"We want as many people hearing our music as possible, so we can keep touring and keep living the dream," Warry-Smith says.

The Show hopes to release more albums in the future, and continue to excite audiences with its live performances.

For now, the Show is psyched about performing in a Western benefit show, entitled "Jam for Sudan." The concert's profits will be donated to the Darfur relief effort.

"While the Show might not be able to directly solve social inequalities, anything we can do to bring awareness about the conflict through our music - something that we love to do - is satisfying," Shanfield says.